Im working on the story board for the script. it's coming
along nicely. filip has been such an inspiration
here...encouraging my film work and helping me with ideas
on the permeable understanding a fresh viewer would have
upon viewing such a manifestation...which it is, in itself -
that of the robot being...

controlled, yet unpredictable
created, but containing an essence so sexy and
mesmerizing...

okey, i go too far

the story:
so far, our robot, BETBOT has discovered NATURE hidden
from the robots by the higher AIs and is eager to notify
the group of the finging. however, along the way back home,
BETBOT encounters a dangerous cat - named YETI. she is
curious and devious and wishes only to devour this little
moving thing. YETI follows BETBOT to ROBOTOPOLIS and
proceeds to swallow the TOWERING TWIN INTELLIGENCES. it is
disasterous - all is in disray.

some meditations from an essay i found scattered in a
mess of information:

with its temporality and immersiveness, sound seems to
avoid clarity, categorization an objectivity
light and sight reveal objects, sound is the result of
processes of something happening - and of mistakes: there
can't be glitches without processes.
the whole notion of 'glitch' is tied up to an "auditive"
thoughtform , which approaches the world as a multiplicity
of processes rather than a pre-set field of objects
---> RE: the telephone and its 'electromagnetic imaginary'
we strive to approach an the outside of thought and
perception - looking beyond what is before ourselves in
order to find answers to the habits we keep
the subject and the world are formed in commplex
interractions between both...as the subject emerges from
the processes of the world.
D&G give these processes a name: MACHINES
defined: "a system of interruptions or breaks";
cutting and redirecting the energetic flows of preconscious
world, which can be
though of as an infinitely complex
assemblage of machines actino upon other machines acting
upon others.
REFRAIN: moments of relations which blur the distincition
between habit and new ground/comfort and chaos.Refrain
doesn't, however, have just a reactionary function against
chaos; it is situated in the middle and has a potential to
both reterritorialize and deterritorialize sound,
constantly on the border of a territory...
TO MAKE NEW PRECEPTS/WAYS/AFFECTS ONE MUST EMBRACE THE
GLITCH
"forms are replaced by pure modifications of speed."
Using the concepts of Deleuze and Guattari, we can state
that the phonograph deterritorializes sound, flattens down
the hierarchical organization of music into a rhizome,
which is an open, multiple and temporal form of
organization and subsceptible to constant de- and recoding
Glitches, clicks and cuts are the sound of sound machines
molecularizing, atomizing and ionizing sound, making
audible the process of sound itself. If we must make a
distinction between the scratch and the glitch, it is this:
scratching is the folding of recorded time, metallurgy of
sound, taking a flow of matter and producing variations of
it. Common to music and metallurgy, according to Deleuze
and Guattari, is the tendency to ""bring into its own,
beyond separate forms, a continuous development of form,
and beyond variable matter, a continuous variation of
matter,"" in short to bring out the ""life proper to
matter.""
James Brown's Sex Machine and Kraftwerk's Mensch Maschine
define electronic music's identification with machinery
with their twin poles of "raw" physicality and "pure"
spirit/intellect. To dance as mindless robots or to think
music as an incorporeal AI. This all-too established
dualism has been broken down at times by the music
machinery's potential to fuse down the two poles and to
break down, to express glitches
Repetition makes the thing repeated (the thing not new
anymore) present again. Each repetition (a simulacrum of
the "original", if any is to be found) is an event in
itself;
Repetition and first time, but also repetition and last
time, since the singularity of any first time makes of it
also a last time. Each time it is the event itself, first
time is a last time. (Derrida 10
THE NARRATIVE IS THE HAPPENING OF REPITITIONS.
Any vertical, arborescent models are flattened by the
rhizomatics of repetition, which undoes the symbolical or
critical form of thought. According to Roland Barthes,
critique is always either historic or futurologic, its
content is culture which equals everything that is inside
us, except the present moment (Barthes 32).
Repetition is a way of appearing without form, without
identity: it multiplies the same element over and over
again, juxtaposes the element with its each successive re-
emergence, brings out the differences by bringing out the
gaps between singular repetitions, forms a machinic
assemblage out of the circulation of sound blocks.
Scratching, sampling and the stuttering of malfunctioning
soft- and hardware are means of derangement, seeking out a
way to make a rhizome out of music, a way to place its
elements in continuous variation, where absences, breaks,
holes, folds and ruptures can be a part; a way to let
ghosts of the outside in.
As tool-using creatures (among other such creatures) we've
always been cyborgs. ""[T]ools exist only in relation to
the interminglings they make possible or that make them
possible."" (MP 90) That is to say, tools imply a symbiosis
between two bodies in a machinic assemblage,
deterritorializing them both
abbreveations: mp (milles pleateaux)
ao (anti-oedipus)

i'm thinking about an experimental movie based on robots
and their relationships/parallels with our ideas on
repitition/time/Outside and how we may understand to bridge
our own gaps.

some musings: feedback is most certainly needed - this is a
rough.

A robot who discovers its ghost (as depicted by a fairy) it
is released and the robot becomes ...
. human
. ephermeral light
. animal
. a copy of itself
. music
. an agent/carrier of thought into the collective
unconscious - as represented by another planet (???)

A montage of work will depict the monotony of work through
music and erratic stopmotion.

scene one : GLIDING MOVEMENT
(The faint whisper of kraftwerk echoes into the noise of
glitches and electromagnectic fuzz. There, a robot world
emerges - made of found/made objects. Moving in fast and
slow motion, the mood of the scene is to depict the
repititious nature of the world and the interesting forms
which come out of this repitition. The robots in this world
move in varying speeds, some fast some extremely slow. The
method with which this scene will edit takes form in it's
sonic translations of the movement. Essentially, the viewer
begins with the familiar attributes of mechanical strength
and vigor robots possess. Their speed and lack of
gesticulation will set the logic precision of film's pace.
Also, the passage of time becomes as the sun sets and dawns
all in the same shot. The duration of the film is to imply
no end to the work day - robots have no concept of "the
end" - a projection of our fear of mortality)

props: robots of all sizes/shapes/colours
technique: experiment with bird/worm perspectives in camera
stop-motion capture in camera
composite layering in premiere/aftereffects

scene two : HABITS
(A critique of the work robots do will be explored. Robots
are created to enhance efficiency where humans lack the
strength and stamina. Also, the monotony of repititon is an
act that drives humans mad - though, the refrain is one of
the last territories that maintain a present. Robots have
no concept of time, just the present...